Tuesday, November 19, 2019

Story image for vintage jewelry from Vogue.com

Vintage Lover's Guide to the Best Shopping in Rome

Vogue.com-Apr. 20, 2018
There are plenty of religious experiences you can have in Rome, but for the truly devout fashion fan, few will rival finding an incredible piece of vintage clothing.
Story image for vintage jewelry from Forbes

Discover These Antique and Vintage Dealers and Shops On ...

Forbes-Dec. 18, 2018
By the end of November through the second week in December, Instagram is a virtual wonderland of jewelry photos. Scrolling through all of the antique jewelry ...
Story image for vintage jewelry from Vogue.com

Ashley Zhang Is Your Source for Something Old, Something ...

Vogue.com-Apr. 12, 2018
“Given the choice,” says jewelry designer Ashley Zhang, showing off her stunning vintage moval (a cross between a marquee and an oval) engagement ring, ...
Story image for vintage jewelry from Forbes

A Small World Of Museum-Quality Jewels In New York City

Forbes-Nov. 5, 2018
For jewelry enthusiasts, it's always a treat to find out that a museum in your area ... of jewelry from the medieval to vintage '70s in museum-quality period jewelry.

1 comment:

Pearl Necklace said...

the creative moment. "It is important way of thinking and not the form in which it
results. Therefore it is impossible to write music, imitating the "great experience", ie
really dead schemes" (ibid.P.9).
Form in understanding Boris Asafiev (Igor Glebov) (1884-1949)has
explicit social lining. In confirmation of this we give some
the statements in "Musical form as a process", first published in
1930 "Form, check by ear, sometimes by several generations, i.e.
certainly socio detected (otherwise-how and where it could
kristallizuetsya) organization-logical, temporal distribution
the musical material..." (B. Asafiev Musical form as a process.
-- L., 1971. P. 22). Or the following observation:
"Classic shapes -- the result of a long social selection of the most
sustainable and effective intonation" (ibid.). Or: "Age
academism in music -- this era of the dominance of satisfying the most
humans as possible (but not completely) familiar combinations" (ibid.
P. 58). Thus B. Asafiev struggling with the understanding of form as an abstract
scheme, for it is the most socially expressive selected
sound combinations.
In principle, as for any representative of the formal direction, for
B. Asafiev characteristically enough a clear identification of its
instrumentation, rejection of the multiplicity of interpretations of its understanding and
use this connection as a more developed linguistic
terminology. So he argues with the term "musical symbols" as
leading to the vagueness, offering instead the term "music
semantics", clearly emphasizing that the use of the term linguistics
Notable for this book turned out to be another trend setting
to "space" and environment of the audience. B. Asafievpostulates
the certainty of connections between music and architectural space
European Symphony he sees as the brainchild of a closed space. "Attitude
between music and "occupy" its space -- is not only pure
acoustic phenomenon. Street, square, public garden or the Boulevard --
howling is a special kind of special "specificity" forms. Of course, lively village
a ditty you can sing at a concert, but her form is still defined
a village street.